Narrative

Quixote is a caricature of a knight errant; steeped into his fictional heroes, he undertakes to revive a tradition long dead, and in the process leaves behind some unforgettable images of knightly virtue turned sour. This caricature, however, is not simply a ploy meant to arouse laughter, but also an occasion to revisit the emphasis on knowledge and good sense with which virtue has been aligned in the Socratic/Platonic tradition. The challenge Quixote represents concerns the relation between reasoning and the (...) ability to “get it right” in practice; by sundering these apart, Cervantes forces a reconsideration of the unity of thought and action. (shrink)

Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multipicture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs. pictorial discourses, (...) and (iii) the phenomenon of co-referencing across pictures. We extend Segmented Discourse Representation Theory to spell out a formal Super Pragmatics that applies to linguistic, pictorial and mixed discourses, while respecting the particular ‘genius’ of either medium and computing their distinctive pragmatic interpretations. (shrink)

I argue that in Sheridan Hough's book Kierkegaard's Dancing Tax Collector, the distinctive and novelistic literary form is not a playful, whimsical, or otherwise contingent feature, but a structure that's needed to convey the account of Kierkegaardian faith as practical in nature.

A key philosophical feature of Peter Jackson’s film interpretation of J.R.R. Tolkien’s _The Lord of the Rings_ is its use of fantasy to inspire a “recovery” of the actual, or in other words, a reawakening to the beauty of nature and of the many possible ways of living in healthier ecological relation to the world. Though none of these ways is perfectly achieved, this pluralistic view is demonstrated in the various lifeways of Hobbits, Elves, Men, and Ents. All of the (...) positive relationships embodied in the films – to trees, mountains, horses, and vegetable gardens – involve loving care and attention, receiving nourishment and livelihood without instrumentalization or reducing nature to mere resource. The films also vividly display a variety of ugly and destructive ways of using the land to accrue power and wealth. These noxious ways, specifically because they actively destroy the lands that they use, always need more. They will thus eventually annihilate the beautiful ways of being if they are not actively resisted. Some of those who would rather be tending their own trees, gardens, horses, or even wandering in the wild forests must therefore turn their attention to struggle and resistance instead. This is a struggle full of grief, and at times even verging on despair, but it is marked by the refusal to give up hope. Indeed, what Jackson and Tolkien have to say about hope is as important in responding to the ecological crisis as anything they have to say about nature, inasmuch as they help to remind us that even in our own times, “there is still hope.”. (shrink)

O propósito deste artigo é aprofundar o debate da narratalogia cognitiva sobre o papel das emoções e afetos na escrita e leitura do texto ficcional. Para tanto, buscamos fundamentos teóricos em teorias recentes da afetividade situada, em particular nos conceitos de andaimes, arranjos e milieus afetivos, a fim de observar como textos codificam afetos para suscitar estados afetivos e emocionais nos leitores. O mérito da interlocução virá da capacidade de fertilizar a compreensão do papel das emoções na construção de textos (...) ficcionais, mediante a análise do seu papel na composição de um texto em particular: o conto “Criançada”, de Anton Tchekhov. Como teorias da afetividade situada reservam um papel de destaque para o ambiente externo na construção da afetividade humana, argumentamos que a aplicação dessas teorias ao nosso objeto permite observar como a construção do espaço, a descrição dos objetos e os afetos dos personagens estão intimamente ligados, alimentando-se reciprocamente e fortalecendo-se em relações de feedback. Essas análises podem permitir que a narratologia cognitiva saliente elementos afetivos dos textos ficcionais até aqui pouco explorados nos estudos literários. (shrink)

Este es un cuento de creación literaria.

Some infamous memoirs have turned out to be chock-full of fibs. Should we care? Why not say—as many have—that all autobiography is fiction, that accurate memory is impossible, that we start lying as soon as we start narrating, and that it doesn’t matter anyway, since made-up stories are just as good as true ones? Because, well, every part of that is misleading. First, we don’t misremember absolutely everything; second, we have other sources to draw on; third, story form affects only (...) significance, not facts; fourth, fiction and nonfiction offer different affordances, benefits, and delights. And since we need both kinds of writing, we have to insist on honesty in memoir; we have to stop saying that everything is invention and that fibs don’t matter. If memoirs could never be trusted, who would still read them? In a world without truth, what exactly would we speak to power? (shrink)

In this article it is argued that the videogame Far Cry 2 manages to take advantage of the heroic formula so characteristic of the first-person shooter videogame genre in a way that potentially prompts players to reflect on the ethical adequacy of their own decision to immerse themselves in a fictional scenario in which they take the role of a fictional character whose behaviour primarily, if not exclusively, consists in shooting.

Can fictional literature help us lead better lives? This essay argues that some works of literature can help us both change our personal narratives and develop new narratives that will guide our actions, enabling us to better achieve our goals. Works of literature can lead us to consider the hypothesis that we might beneficially change our future-oriented, personal narratives. As a case study, this essay considers Ben Lerner’s novel, 10:04, which focuses on humans’ ability to develop new narratives, and which (...) articulates a narrative that takes into account both everyday life and large-scale issues like the global, environmental crisis. (shrink)

Romance novels are primarily aimed at, written about, and written for women. They have been accused of being fantasies which feature sexually objectified heroines who are passive recipients of overwhelming masculine sexual energy. After shoring up these critiques of romance novels with A.W. Eaton’s account of how art can objectify its subjects, we examine a challenge to romance novels: does the sexual content in romance novels objectify its heroines? There is strong reason to think so. However, we argue that careful (...) attention to the ways art can objectify its subject reveals that romance novels are structured to make it impossible for their heroines to be objectified. In many cases, individual signs of objectification are raised as possible outcomes and dismissed as part of the plot of a romance novel. Satisfying sex in a romance novel does not appear until it is impossible for the romantic heroine to be objectified. Understood in this way, romance novels serve as a model for one way that objectification could be avoided. The fantasy of a romance novel is not objectifying sex. It is sex free of objectification. (shrink)

This volume brings together new research on fiction from the fields of philosophy and linguistics. Fiction has long been a topic of interest in philosophy, but recent years have also seen a surge in work on fictional discourse at the intersection between linguistics and philosophy of language. In particular, there has been a growing interest in examining long-standing issues concerning fiction from a perspective that is informed both by philosophy and linguistic theory. -/- Following a detailed introduction by the editors, (...) The Language of Fiction contains 14 chapters by leading scholars in linguistics and philosophy, organized into three parts. Part I, 'Truth, Reference, and Imagination', offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, 'Storytelling', deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, 'Perspective Shift', focuses on an alleged key characteristic of fictional narratives, namely how we get access to the fictional characters' inner lives, through a variety of literary techniques for representing what they say, think, or see. The volume will be of interest to scholars from graduate level upwards in the fields of discourse analysis, semantics and pragmatics, philosophy of language, psychology, cognitive science, and literary studies. -/- Table of Contents 1:Introduction, Emar Maier and Andreas Stokke Part I: Truth, Reference, and Imagination 2:Fictional reference as simulation, François Recanati 3:Sharing real and fictional reference, Hans Kamp 4:Fictional truth: In defense of the reality principle, Nils Franzén 5:On the generation of content, Sandro Zucchi 6:Do the imaginings that fictions invite have a direction of fit?, Manuel García-Carpintero Part II: Storytelling 7:In search of the narrator, Regine Eckardt 8:Extracting fictional truth from unreliable sources, Emar Maier and Merel Semeijn 9:Narrative and point-of-view, Samuel Cumming 10:A puzzle about narrative progression and causal reasoning, Daniel Altshuler 11:Isomorphic mapping in fictional interpretation, Matthias Bauer and Sigrid Beck Part III: Perspective Shift 12:Metalinguistic acts in fiction, Nellie Wieland 13:Computing perspective shift in narratives, Márta Abrusán 14:Derogatory terms in free indirect discourse, Isidora Stojanovic 15:Protagonist projection, character-focus, and mixed quotation, Andreas Stokke. (shrink)

Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our understanding of unreliable narrators and unreliable narration (...) in fiction needs to accommodate stories that, on the face of it, cannot possibly be true. (shrink)

I question whether the case for “literary cognitivism” has generally been successfully made. As it is usually construed, the thesis is easy to satisfy illegitimately because dependence on fictionality is not built in as a requirement. The thesis of literary cognitivism should say: “literary fiction can be a source of knowledge in a way that depends crucially on its being fictional” (Green’s phrasing). After questioning whether nonpropositional cognitivist views (e.g., Nussbaum’s) meet this neglected standard, I argue that if fictional narratives (...) can impart propositional knowledge in virtue of their fictionality, it would be largely via a suppositional framework. Yet in many cases, such as Huxley’s Brave New World, the key literary supposition could simply be an epistemic possibility (‘suppose X, which for all we know, occurs sometime’), not counterfactual supposition, that is, distinctively fictional supposition. The best general case for literary cognitivism may be the limited one that literary fiction can alert us to nonactual metaphysical possibilities that may be important for understanding actuality. Yet even here, seemingly possible fictions are often impossible. (shrink)

The nature of fiction is commonly understood in terms of make-believe. Within this framework, there has been a debate between fictive intentionalism and fictive anti-intentionalism. In this paper, my purpose is to make a case for the latter. To do so, I reassess the debate over Kendall Walton’s (1990) ‘Cracks in a Rock’ thought experiment. I put forward a careful reconstruction of its most popular reply, namely Gregory Currie’s (1990) pseudofiction counterargument, and argue that it is either incomplete or unsound. (...) I then emphasize the importance of fictional truth for the thought experiment. Therein lies the core of the argument, for intentionalism has a hard time accounting for fictional truths. I thus rehabilitate the ‘Cracks in a Rock’ argument as a compelling reason for the anti-intentionalist view of the institution of fiction. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the two mental state (...) types make distinct contributions to generating emotional responses to stories. Finally, the differences between the mental states illuminate how a given story can be both shared with others and at the same time experienced as personal. (shrink)

This chapter identifies and explains several primary functions of the fictional use of metalinguistic devices and considers some difficult cases. In particular, this chapter argues that when real persons are quoted in a storyworld they are ‘storified’ as near-real fictions. In cases of the misquotation of real persons, near-real fictions and near-real quotations must adequately exploit resemblances between the real and the fictional. This concludes with a discussion of the similarities between fictional and nonfictional uses of metalinguistic acts, and how (...) they bear on our understanding of imagination and make-believe. (shrink)

We propose to analyze well-known cases of "imaginative resistance" from the philosophical literature (Gendler, Walton, Weatherson) as involving the inference that particular content should be attributed to either: (i) a character rather than the narrator or, (ii) an unreliable, irrational, opinionated, and/or morally deviant "first person" narrator who was originally perceived to be a typical impersonal, omniscient, "effaced" narrator. We model the latter type of attribution in terms of two independently motivated linguistic mechanisms: accommodation of a discourse referent (Lewis, Stalnaker, (...) Kamp) and 'cautious' updating as a model of non-cooperative information exchange (Eckardt). (shrink)

Recent decades have witnessed a growing interest in narrative both in certain areas of philosophy and in the study of religion. The philosophy of religion has not itself been at the forefront of this narrative turn, but exceptions exist—most notably Eleonore Stump’s work on biblical stories and the problem of suffering. Characterizing Stump’s approach as an apologetic orientation, this article contrasts it with pluralistic orientations that, rather than seeking to defend religious faith, are concerned with doing conceptual justice to the (...) range of possible human perspectives, both religious and nonreligious. By discussing various examples, the article makes a case for narrative philosophy of religion, especially in its pluralistic form. (shrink)

Who is Pulcinella? What does his laughter have to say about the "end of time" and the end of life of Giandomenico Tiepolo? How can the end of a life make anyone laugh like Carnival’s popular mask does? This article tries to answer such questions. By unfolding the tools that come from the realm of Giorgio Agamben’s philosophy – notably the notion of "recapitulation of time" in its relation to comedy – we will trace a path which links Michail Bachtin’s (...) theories on the carnivalesque culture together with a recognition in the aesthetics of "character". In this encounter, the consistency of Pulcinella-King Carnival’s form of life will appear in the light of an “escape route”: it winks at a kind of general and anonymous beatitude, which pairs with the experience of the destitution of time. (shrink)

Este artículo periodiza y desarrolla los paradigmas concomitantes de la novela policial, para extrapolarlos en un contexto peruano incipiente con textos que cumplen con los requisitos indispensables denominarse de ese modo. La violencia resulta un elemento inexorable para la eficacia receptiva y su tratamiento creativo, además del conocimiento de tópicos afines, como Derecho, Política, Sociología, Fuerzas Policiales, etc. Para ello, se corroborará con la definición de este género (como lo fundamenta principalmente Tzvetan Todorov) y la taxonomía hegemónica de sus subgéneros: (...) novela de enigma, novela problema, novela negra, whodunit, novela policiaca histórica, novela policiaca de período histórico y novela criminal. (shrink)

For John Forrester, the ‘case’, particularly in its psychoanalytic version, makes possible a science of the particular – knowledge open to the differences of individuals and situations. This article takes up that aspect of Forrester’s account that linked the psychoanalytic case with forms of autobiography – new narrations of that particular self. After Freud, many authors – literary and psychoanalytic – have taken up the challenge of narrating subjectivity in new forms, engaging a quasi-psychoanalytic framework. Focusing on Luisa Passerini’s text (...) Autobiography of a Generation, which deals with the Italian experience of 1968, the article examines some of the features of such hybrid texts, and argues that psychoanalysis makes a contribution not just to the forms of self-investigation they pursue, but more significantly to the search for a radically new methodology of narration. Such models end up as ‘impossible’ cases, but in so doing they explore new interdisciplinary means for understanding the historical shaping of subjectivity. (shrink)

The paper is a dialogue between a conservation architect who works on medieval churches and an analytic aesthetician interested in the principles underlying restoration and conservation. The focus of the debate is the explanatory role of narrative in understanding and justifying elective changes to historic buildings. For the architect this is a fruitful model and offers a basis for a genuinely new approach to a philosophy of conservation. The philosopher, however, has been sceptical about appeals to narrative in other contexts (...) (for example, self-identity), and rehearses some reasons for this scepticism. The dialogue explores the pros and cons of the narrative approach to conservation and seeks to forge a compromise that acknowledges concerns about inflated claims for narrative while pursuing the merits of this particular application. (shrink)

Suppositional reasoning can seem spooky. Suppositional reasoners allegedly (e.g.) “extract knowledge from the sheer workings of their own minds” (Rosa), even where the knowledge is synthetic a posteriori. Can literary fiction pull such a rabbit out of its hat? Where P is a work’s fictional ‘premise’, some hold that some works reason declaratively (supposing P, Q), imperatively (supposing P, do Q), or interrogatively (supposing P, Q?), and that this can be a source of knowledge if the reasoning is good. True, (...) I will argue, although only within the context of judicious critical interpretation. Further evident constraints include that the form of the suppositional reasoning needs to be declarative or imperative, and that the fictional ‘premise’ of the work needs to be a metaphysical counterfactual possibility, not merely a temporal counterfactual and not merely an epistemic possibility or probabilistic supposition. (shrink)

This paper responds to Saul Fisher’s critical note (in the current volume) on Peter Lamarque and Nigel Walter’s ‘The Application of Narrative to the Conservation of Historic Buildings’ (Estetika 1/2019). Walter restates the argument, underlining the context of ‘living' buildings whose identities are still in formation. He then responds to points raised by Fisher, commenting on persistence and identity, Noël Carroll’s views on narrative connection, the usefulness of Carroll's engagement with spatial relations, and addressing some of Fisher’s specific challenges. Lamarque (...) then comments, framing the central question as whether conservation work to a building preserves its character, integrity, and coherence, noting that these are core aspects of narrative, before concluding with some reflections on the application of metaphor, including the metaphorical personification of buildings. (shrink)

Orson Scott Card’s Ender Saga and Kazuo Ishiguro’s The Buried Giant explore the role of memory in aftermath of genocide; both authors employ fantasy and the metaphor of the buried giant to represent past slaughters. Although distinct in genre, the novels together demonstrate the tension between forgiving and forgetting in memory studies following the atrocities of the twentieth century. Forgiveness in the Ender saga falls short of the accountability embedded in “difficult forgiveness” as defined by Paul Ricoeur, as does the (...) imposed forgetfulness between previously warring parties in The Buried Giant. Similarly, the fictions demonstrate, on a corporate scale, neither “unconditional forgiveness” as defined by Jacques Derrida nor “unconditional love” as defined by Martha Nussbaum. On an interpersonal level, however, The Buried Giant demonstrates the transformative powers of all of these practices, thus inviting reflection on how they might effect larger-scale reconciliations. (shrink)

Aaron Smuts has argued that attempts to offer a plausible distinction between stories and tellings will likely face insurmountable difficulties. Here, I offer a distinction between stories and tellings that does not face these difficulties. In doing so, I propose an ontology of stories according to which such entities are ideas for narrative manifestation. In developing this ontology, I also consider parallels between stories and musical compositions.

It has become a commonplace that narrative plays an important, even essential role in our understanding of reality and ourselves. Recently, however, analytic philosophers have questioned narrative’s alleged epistemic value. This essay defends the epistemic significance of narratives, everyday and literary. First, it will argue that the philosophical attack on the value of narratives operates on problematic concepts. Second, it proposes that the epistemic significance of narratives is not to be explained in terms of knowledge but understanding.

Rita Charon says that narrative medicine is about honoring stories of illness. In a system where physicians and patients can often feel as though they are reduced to numbers, narrative medicine is a plea to take the narratives of illness seriously. But what does it mean to honor a story? In this essay, I use the framework of narrative medicine to offer narrative reflections on the concept of honor inspired by on three definitions, including respect, moral rightness, and high regard. (...) I explain how each definition illustrates an aspect of honor and its role as an ethical virtue in narrative medicine. (shrink)

Kirjasymposioartikkeli esittelee Hanna Meretojan teoksen The Ethics of Storytelling: Narrative Hermeneutics, History, and the Possible (Oxford University Press, 2018) keskeisimmät ajatukset ja kytkee ne laajempaan hermeneuttiseen ja jälkistrukturalistiseen ajatteluperinteeseen, etenkin Jean-François Lyotardin luonnehdintaan jälkimodernista aikakaudesta suurten modernien historiallisten metakertomusten horjumisen ja pienten paikallisten kertomusten moneuden aikakautena. Tässä valossa Meretojan hermeneuttista kertomusetiikkaa voidaan lukea ennen muuta pienten, ei-totalisoivien kertomusten etiikkana. Artikkeli esittää, että tällaiselle etiikalle löytyy hedelmällinen vertailukohta Hannah Arendtin totalitarismiteoriasta, joka sijoittaa ideologiset metakertomukset totalitaarisen hallinnan ja sen tuottaman ”banaalin pahuuden” (...) ytimeen; niin Arendtin kuin Meretojankin kertomusetiikan keskeisenä viitekohtana on holokausti moderniteetin eettisenä nollapisteenä. Nämä yhteydet tuovat esiin Meretojan hahmotteleman hermeneuttisen etiikan laajan teoreettisen kaikupohjan myöhäismodernissa ajatteluperinteessä. Lopuksi pohditaan kysymystä hermeneuttisen pienten kertomusten etiikan jatkuvasta ajankohtaisuudesta sosiaalisen median ja sen ”kuplien” aikakaudella. (shrink)

Howard Phillips Lovecraft can be viewed as a Romantic based on his lifelong relationship with wonder. This short essay gathers further evidence of Lovecraft’s Romanticism, beginning with a brief exploration of what Romanticism is and then moving on to highlight elements of Romanticism in Lovecraft’s poem “Fact and Fancy” (1917). The essay concludes that, as much as Lovecraft can be labelled a Romantic based on his affinity with wonder, he can also be classified as such based on his aversion to (...) the cold light of reason, which to him was an insufficient antidote to the otherwise dreary world in which he found himself. (shrink)

Both current and past analyses and critiques of transhumanist and posthumanist theories have had a propensity to cite the Greek myth of Prometheus as a paradigmatic figure. Although stark differences exist amongst the token forms of posthumanist theories and transhumanism, both theoretical domains claim promethean theory as their own. There are numerous definitions of those two concepts: therefore, this article focuses on posthumanism thought. By first analyzing the appropriation of the myth in posthumanism, we show how the myth fails to (...) be foundational and how we need to rethink the posthumanist mythological framework. We then introduce Haldane’s Daedalus figure as a fruitful analogy to understand the demiurgic posture that critics mean to unveil by first using Prometheus. Daedalus embodies the artisan role, whose status as an inventor for the mighty preserves from the gods' direct opprobrium. Thereafter, we introduce the Camusian Myth of Sisyphus as a competing analogy that ultimately serves as a myth better suited to address the posthumanist position on an existential standpoint. we ultimately show that Sisyphus, as the ‘absurd man’ that Camus claims him to be, is himself the posthuman, thus serving as a more ideal foundational myth for posthumanism and preserving the importance of narrative in posthuman discourses. To conclude, we specifically show that the concept of Sisyphus as a posthuman icon has significance that reaches beyond narrative value to current ecological debates in posthumanism. (shrink)

This paper is about non-fictional objects in fictions and their role as narrators. Two central claims are advanced. In part 1 it is argued that non-fictional objects such as you and me can be part of fictions. This commonsensical idea is elaborated and defended against objections. Building on it, it is argued in part 2 that non-fictional objects can be characters and narrators in fictional narratives. As a consequence, three fundamental and popular claims concerning narrators are rejected. In particular, it (...) is shown that some fictional narratives have non-fictional internal narrators, some have no internal fictional narrator, and, most controversially, that the author of a fictional narrative can be identical to its internal narrator. (shrink)

Many people report that reading first-person narratives of the experience of illness can be morally instructive or educative. But although they are ubiquitous and typically sincere, the precise nature of such educative experiences is puzzling—for those narratives typically lack the features that modern philosophers regard as constitutive of moral reason. I argue that such puzzlement should disappear, and the morally educative power of illness narratives explained, if one distinguishes two different styles of moral reason: an inferentialist style that generates the (...) puzzlement and an alternative exemplarist style that offers a compelling explanation of the morally educative power of pathographic literature. (shrink)

Visual literacy has long been important as a way of reading images beyond mimetic illustration. It also allows the reader to tap into a logic of representation in order to create different representations and narratives. In this essay I argue that images provide crucial temporal complexity to the study of narrative, with particular resonances for narrative historiography. The complex temporality of the image, especially the graphic narrative or comic, points toward a historical time which may be neither linear nor causal. (...) Moreover, images demand interaction from the reader, but offer many avenues of interpretation, suggesting that the reader pay attention to their own constructions of meaning and practices of narrativizing. -/- La litéracie visuelle a longtemps été importante comme façon de lire les images hors de simple illustration mimétique. Elle permet aussi le lecteur d’entrer dans une logique de représentation pour créer des différentes représentations et des différentes narrations. Dans cet essai, je soutiens que les images fournissent une cruciale complexité temporale pour l’étude des narrations, avec valence particuliaire pour l’historiographie narrative. La temporalité complexe de l’image, surtout la narration graphique ou bande dessinée, indique une temporalité historique qui sera peut-être ni linéaire, ni causative. Par ailleurs, les images exigent l’intéraction du lecteur, et au même temps ils offrent plusieurs avenues d’interprétation, ce qui attire l’attention du lecteur à ses propres habitudes de lecture et à ses propres narrations construits. (shrink)

Rodden writes, “How do stories persuade us? How do they ‘move’—and move us? The short answer: by analogies.” Rodden’s claim is a natural first view, also held by others. This chapter considers the extent to which this view is true and helpful in understanding how fictional narratives, taken as wholes, may be argumentative, comparing it to the two principal (though not necessarily exclusive) alternatives that have been proposed: understanding fictional narratives as exhibiting the structure of suppositional argument, or the structure (...) of a kind of transcendental argument. Three key aspects of understanding a fictional narrative as an argument from analogy are identified. First, the argument will be relativistic or depend in an essential way upon the circumstances or intentions of the auditor or author. Second, in view of the first aspect, the argument will be loose and subjective, and accordingly less likely to yield knowledge. Third, the argument will not exhibit a distinctive structure applicable only to fictional narratives. I find that the third, and sometimes the first and second, of these same three aspects apply to understanding fictional narratives as suppositional arguments. I present considerations that point to a way of establishing that some extended fictions exhibit the structure of a kind of transcendental argument that is neither relativistic nor subjective, is knowledge-generating, and is uniquely applicable to fictional narratives. This supports literary cognitivism—the thesis that “literary fiction can be a source of knowledge in a way that depends crucially on its being fictional.”. (shrink)

The writing of David Foster Wallace transformed the root and branch of contemporary fiction, introducing a formal inventiveness that moved authors away from an emotionless postmodern irony. Critics have pointed to Wallace’s exploration of morality and a return to sincerity as the central concerns of his work. However, as Jeffrey Severs argues in David Foster Wallace’s Balancing Books, the author was also deeply engaged with the social, political, and economic issues of the twentieth and twenty-first centuries. A rebellious economic thinker, (...) Wallace not only satirized the deforming effects of money but also questioned the logic of the monetary system. In his original readings of all of Wallace’s fiction, from The Broom of the System and Infinite Jest to the story collections and The Pale King, Severs reveals Wallace to be a thoroughly political writer whose works provide an often surreal history of financial crises and neoliberal policies. -/- As Severs demonstrates, balance and value are crucial to the work of Wallace, who constantly asks us to consider what we value and why. The concept of value is where his major interests intersected: economics, work, metaphysics, mathematics, and morality. Severs also details how Wallace’s writing explores the quest for balance in a world of excess and entropy. Wallace showed characters struggling to place two feet on the ground and restlessly sought to balance the books of a chaotic culture. Explaining why Wallace’s work has galvanized a new phase in contemporary global literature, Severs draws connections to key forerunners Don DeLillo, Thomas Pynchon, and William Gaddis, as well as successors—including Dave Eggers, Teddy Wayne, Jonathan Lethem, and Zadie Smith—interpreting Wallace’s legacy in terms of finance, the gift, and office life. (shrink)